(Rio de Janeiro, Brazil) “Territórios e Capitais: extinções” is a project by the Pernambuco-based artist, who uses money as media as the incestuous relationships between capital, culture and the worn-out national ideas as theme. With his usual critical irreverence, he explores the always inaccurate borders between art and politics, art and market, art and nationalism, art and territory, art and value.
(Rio de Janeiro, Brazil) Created in 2004, the Prize honours collector Marcantonio Vilaça, deceased in 2000 at age 37, who dedicated himself to launching and revealing new artists in the Brazilian and international art markets, having donated several works from his personal collections to museums all over the world.
(São Paulo, Brazil) The curator points out how in Luiz Braga’s work the contrasts between human and architectural landscape intertwine. According to him, in the Marajó Island photographs you can see the complexion on the place’s sons, each one can be a man, woman, child, tree trunk, wind, overwhelming landscape. “The deep Marajó, the place where trees talk, where whole families rest in chairs and small sofas, on doorsteps, facing the moonlight, like they are at the cinema watching life go by in technicolor”, adds Diógenes Moura.
(London, United Kingdom) The show offers, among other aspects, a look into Latin American spirituality, which reflects a myriad of influences. The nature-based faiths of ancient civilisations and indigenous tribes melded with Christianity, European values and animist beliefs from Africa. This unique mix has provoked a wonderfully rich and diverse strand of art production in which spiritual themes, like mysticism, life, death, life after death, the question of God’s existence, form a key focus for colonial art and continues to influence modern and contemporary art.
(Rio de Janeiro, Brazil) Mabe Bethônico, Daniel Murgel and Caio Reisewitz are some of the artists who had their artworks selected to win the 2013 Art and Heritage Prize and receive an award in the sum of 50 thousand reais. Forty Brazilian artists, with works that establish a dialogue between visual arts and cultural and artistic heritage, were selected. The Prize was conceived by Instituto do Patrimônio Histórico e Artístico Nacional (Institute for the National Historical Artistic Heritage), the Paço Imperial Culture Centre and by the Itaú Bank.
(São Paulo, Brazil) In “Salve!” [“Hail!”], discourses on his fears and anxieties in regards to art and shows a critic look on the relationship the artist must maintain with the market. It is not, however, an inquiring look, Cipis knows the rules. The exhibition presents itself as the artist’s business card, from a narrative that approaches his desires and conflicts in a rather ironic tone.